Sharing Intuitions

Design Jess ~ot Wickstrom, Sitver Egg Studios Cover image Frente 3 de Fevereiro, Nou Pop Obeyi [No Vamos Obedecer 1We Witt Not Obey) action, 2015. Phoiograph by Daniel Lima. Copyeditor Kathy t.lacpherson The School of the Art tnstitute of Chicago Oepartmenl of Exhlbitlons and Exhibition Studies Sulllvan Galleries 33 S. State Street, 7th floor Chicago, lllinois 60603 www.saic.edu/exhlbitlons Majarsupport for thls exhibition and pubtlcatlon ls provided through grants lrom the Geuy Foundatlon. With generous suppon lrom the Language Oepanment LLC (languagedepartment.net] for professionat translation services. Otis College of Art and Design Bronya andAndy Galel Fine Arts Center Ben Maltz Gallery 9045 Uncoln Blvd. Los Angeles, CA 90045 www.otis.edu/ben-malu-gallery Print The Unlversity ol Chicago Press Distribution The University of Chicago Press 1427 E. 60th Street Chicago, flUnois 60637 Volume Editors Bill Kelley Jr. with Rebecca Zamora ISB N-13: 978-0-930209-44-5 Series Editors ~ary Jane Jacob and Kate Zefler © 2011 The School of the An lnstltute of Chlcago, the artists, and the authors. The publishers have made every elfort to contact the copyright holders of the matenal included In this book. 11 there are omissions, please let us know ([email protected]) and further editions will be amended. English-Language Editor Ricardo A. Bracho Spanish-Language Editor limenaAndrade TALKING 10ACTION Art, Pedagogy, and Activism in the Americas The Chicogo Social Procrice History Series was developed by the School of the Art lnstitute of Chicago's Department of Exhibitions and Exhibition Studies as part of the series of exhibitions, programs, and symposium launched in 2014 as "ALived Practice." Tolking ro Action: Arr, Pedogogy, ond Acrivism in rhe Americos was developed by Dtis College o! Art and Design as a research project, symposlum, and exhibition as part of Pacific Standard Time: LA/LA, a far-reaching and ambltious exploration of Latln American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at more than 70 cultural institutions across Southern California. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of Amerita. ~ As part of an exhibition tour organized by lndependent Curators lmernational [ICI), rolking ro Acrian was presented in collaboration with the School of the Art lnstitute of Chicago, Arizona State University Art Museum, and Yerba Buena Center for the Arts. ~·- .. ~ ' ~ Pacific -.standard #lit Time: LA/LA latln American & Latino Art In LA Pneefttf"t lpot~ • • Th•Gotty Banllof Amerlc.. Edited by Bill Kelley, Jr. with Rebecca Zamora Otis College of Art and Oesign The School of the Art lnsitute of Chicago Published with the assistance of the Getty Foundation CONTENTS 63 Uberation Aeschecics: Sacia/ Transformotion, Decolonizacian, and /ncerculcurality ACKNOWLEDGNENTS ¡¡ Kate McNamara, Otis College of Art and Oesign iv Trevor Martin, School of the Art lnstitute of Chicago V Bill Kelley, Jr., Otis College of Art and Design María Fernanda Cartagena 71 André Mesquita Pedagogies of Struggle: Art and Activism in Dialogue, Listening, and Memory Experiences 83 Talking to Action: A Diagram André Mesquita ESSAYS Karen Moss Ta/king to Action: An lntraduction ro the Project and its Platforms 126 Liliana Angulo Cortés Efraín Astorga Garay BijaRi Giacomo Castagnola Cog·nate Collective Colectivo FUGA Sandra de la Loza and Eduardo Molinari Oignicraft Etcétera... Frente 3 de Fevereiro Grupo Contrafilé Living, Creoting, Transforming: AFew Ideas an Autonomy as a Way af Life in Mapuche Terrirory 167 Contributor Biographies Jennifer Ponce de león 171 Biblíography The Bottleground af the Present: The Pocha Research Sociecy, Archiva Caminante, ond Etcétera... 115 lnd ex Bilt Ketley, Jr. Talking ro Action: ACuratoriol Experiment Towards Dialogue and Learning 17 Grant Kester Erasing Beuys's 8/ackboard: Art, Pedagogy, and Praxis 27 David Gutiérrez Castañeda Sharing Jntuitions: APersonal Letter ta Liliana Angula 39 51 ARTISTS' PROJECTS Paulina Varas 89 91 95 99 102 105 109 113 117 121 130 133 136 139 145 149 152 156 159 163 Clara lanni and Oébora Maria da Silva lconoclasistas Kolectivo de Restauración Territorial Suzanne lacy Alfadir Luna Taniel Morales Andrés Padilla Oomene and lván Puig Domene POLEN Gala Porras-Kim Ultra-red SHARING INTUITIONS: APersonal Letter to Liliana Angula David Gutiérrez Castañeda - - - - Forwarded message - - From: david gutierrez castañeda <[email protected]> Date: 27 November 2016, 14:24 Subject: Letter to Liliana Angula To: liliana Angula <Liliana.Anqulo@ gmail.com> Oear Liliana: How's the cold weather in Bogotá treating you? 1hope you're not getting the chills. In Morelia we're enjoying particularly radiam sunshíne. lt's been a whíle since we've seen each other. The distance between us has marked our recent initiatives in many ways. lt's not just a geopolitical condition of the ways we work within the framework of cultural processes [myself in the academic fíeld, you in art research, and our colleagues in developing their life's works]; it's also be en a "pause fo r reflection" on the pressing issues we're facing. And that's precisely why l'd like to share sorne words so we can keep thinking together now that the time is upon us to address the artwork that you've lucidly titled Pacific Time, in the framework of the Talkíng ta Action exhibition in Los Angeles. lt's for this project that we'll be activatíng arguments for the "self-determination" of the Afro populations in Colombia's Pacific coast. Returning to the Z& Zl notion of distance, 1wonder: How can we generate an enriching art View flom afishl~g b~towa1ds d vehttles t alliel un lo arl~ g ca1s process for the communities in Buenaventura when the visual configu- ¡nti> ePon ot BuenMNUla. ration of the artwork is taking place in another country, language, and Pnotog•apn by l4'a'a Angulo. socio-cultural context? Furthermore, how can we promote care for Aho communities today through art research? What can art practices accomplish in terms of being understood as demands for ca re? 1recall Elizabeth Povinellí: Perhaps the arts of eare should be oriented to the potentiality within the actual to removing the actual hindrances that impede groups' strivingwhet~r they are striving to change their world through a social project or to remain as they are within a world changing around them. The arts of care would then focus on the differential distribution of the "ease of coping." Caring would sink into the recesses of the everyday, the ordinary, and the mundana. What lt would discover there is that everything is jerry-rigged. Rather than menacing terrorists, theywould find people trylng to make a small, frail shelter.1 And in that sense, what form should reactions take as both practices of care and art research that will be exhibited later in another part of the world? As an artist and an academic, what can we offer the Pacitic coast community that would be valued as eare? Perhaps, a performance. Perhaps, by establishing a know-how in the midst of collusions and trust in other areas of existence beyond the specified territory, with a • view to a territory of complicity. l'd like us to understand care as being a practice of lile and sustainability. lt's a performance, generally made invisible, and with economic and contradictory demands. The values of virtue and good will may defend the ethics of care, but they hide imperatives of privilege that reinforce social contradictions tounded on inequality. That is why caring, as a critica! practice, entails a set of explicit actions in which agents take into account situations of inequality alongwith forms of knowledge andsensations, as well as intuitions andvulnerabilitíes, and react to themon the basis of reflection in order to be responsible for other people, the ecological world, objects, ideas, and processes too. However, these actions also allowagents to react and pro pose how they themselves couldbe lookedalter. Caring takes the formof a series of exercises, of actions that take place in processes. Sorne look alter others, but they are looked after by others too. Those being cared for are going to take care of others. Act by act, lite-giving energies and etforts are gradually transmitted in different time flows and interconnected circumstances. In our actions, something is cared for, so that others can care for themselves. za Buenaventura: a good adventure To bring about a union we must insist on everything that uní tes us and dispense with everything that keeps us apart.1 -Juan Alberto Carabalí Ospina Mesa Nacional de Organizaciones Alrocolombianas. 2010 Buenaventura is a port city marked by a colonial drive. Founded 470 years ago, its urban planning focused on the sea, trade, and slavery, while taking into account the dense tropical forest and muddy seas that surround it. Located right on the Pacific, Buenaventura was to become Colombia's second most important port. lt is now the main economic connection with internationalliberalism. This small cityof no more than 470,000 inhabitants moves Colombia's planet-wide economic links through tive of its national enterprises. Control of the port thus holds the key to the means of value-added agricultura! production through exports of exotic fruits [such as bananas) that subjugate communities, or imports of Chinese goods, which place Colombia in the purviewof international geopolitical relations that lookupon the Pacificas the newworld order. 3 This control of the port and its use has lmposed violence. Afro bodies, who once took refuge in Buenaventura's thick jungles in search of subsistence, have had to endure colonial violence over control of the workforce, political viotence over control ot the territory and forms of thought, economic vlolence over control of agricultura! production and port institutions, and symbotic violence that denies selt-determination and segregates Z9 people from the usufruct of public space and the exercise of free citizenship. 4 Recognizing Afro communities as victims lmplies recognizing them as survivors of this comprehensive epistemic violen ce~ that is based in the colonial modernizing project, which goes beyond the time trame of Colombia's "armed conflict" in the twentieth century. Rather, it means recognizing their condition of suffering and forced integration fnto the experience ot terror as a related consequence of the epistemic violence that preceded it. Nevertheless, freedom also was fo und in the lush jungles of the Pacific. Afros and mestizos endured forms of slavery; sorne escaped and took advantage of the thick jungle to devise new ways of life . As a result of the violence endemic to the African diaspora of the past 500 years, Afro communities have been torced to invent new forms of llle8 and subsistence. The ocean has become an integral part of the territory. As have its waves. Being victimized as an Afro person is not just being victimized within the framework of the armed conflict in Colombia. lt is also being a victim of the colonial legacy, being cut off from their affective and territorial bonds-a form ot segregation and exclusion trom lite. Jaime Arocha thus views the Afro condition as being a result of the African diaspora, constituted by the systemically racist driving torces of European modernizing white colonial subjectivity, hegemonically established as a normalized subjectivity in social life. Following Nina S. Friedmann's line of thought,6 racism has two fundamental driving torces: its structural invisihility and the stereotyped condition of the Afro subject: How is it possible that a territory can be a made of water? The lirst is an instrument of power lnvented around the notion of the supposed superiority of the white rae e, and consists ol hlding the universal, national, and regional histories in which Black people played a leading role In Alrica and the Americas . . . . lt is reinforced by denying the lacts, phenomena and events in which those peoples and civilizations played and continue to play a central role, and is complemented by stereotypy, a variation of invisibllity that is characterized by the reduction of aesthetic, social, mental, and symbolíc complexities and diversities into simple notions that do not vary due to their supposedly atavistic nature.1 "~ulon: Na'le r~ Between the seashore, the muddy hot earth, and the dense jungle of the Colombian Pacific (where it was said there is no space for reason coming from a cold, austere colonial Europe], a political space took shape in which self-determination was feasible thanks to the instability ot cartographies and the constan! shifting of muddy, sandy, aquatic bodies. These territory-bodies take shape and provide anchors in accordance with the tectonics of subjugating power and the energy required for survival. The muddy territory-body is malleable and adaptable. Oue to the currents that cross it [the product of the epistemic violence that Afro bodies continually endure], this body shifts and takes on stable (but temporary] forms as it adjusts to the dilferent destinations it has had to reach. In terms of survival, the Afro territory-body is steady as long as it remains in movement. In order to survive, movement becomes an integral part of the Afro way of being. The fo rm of diaspora to which rhey have been subjected is a migratory one. In the tropics, heat and warmth condition the territory-body for malleability; it is a warm invesrment of an affective and energetic nature that provides a functional c,oupling fo r the ability of the Afro body to survive within the permanent condition of diaspora. lt is an investment that is excessive. This habituated experience of adaptability creates knowledge within the Afro body, a knowledge that requires the affective investment to be constantly rearticulated, to take advantage of it, even if it is excessive or il little is left of it. That is how the Afro body rearticulates itself; it embodies momentary possession of a territory-it becomes a territory-body. Their drive and the capacity for ingenuity shape and energize this movement of bodies. Between the lnstability of the territory-ocean and warm malleability ol the Afro condition, Afro bodies have found their self-determination by being aware of their torced historical migration and by being willing to go wherever t ari n lor.e ol Puente the currents take them. And, thus be able to live. ... La Pla~·it ~ e.ghbo rh o!l, Bu~lfcv Hu ma en tura, Cotomboa. ~ it~ lia n rone esrabbsherl m l0t4as a me c h rhe 1fe of ll'i l n~ ~nism roproreu a blt a nts of thls area ol H ue n~ erv tu re.ln ordet 10 erad1cate lhf v'o!Ene< and paramilltaryS171Jc1\.res hom the an:esnal spate of rnecommuntty. ~. orcgaph by UlianaAogulo. 30 Liliana, your legacies need you to be resilient: cognizant of the strategic capacity to be malleable that your body already knows; aware of the stubborn, inherent drive to survive; tearlessly reminding us that Afro bodies still have not been permitted to live fully in the world. 31 cesa.1re 1\1:a bouche sera \a b4.: \.\'-\'"'- u~ qui n' ont point. de bl)\.~'-, ' 1;:11 01X, la liberté de c.e\~ s 'afi~sent a u cac.\1.ot. d:u ~ F.xtnut Ul.\ Cuhim· d' 11n You told me how territory is forged in Buenaventura: it is wrested from Jimlopez ln Monrreu:l a subu1b of ?alis, flance. Pmussionist, the ocean. Afro bodies have devised technical and political mechanisms col!'pose1, andmlgr.mt infrente, ~ h~s e c1Jmposedsalsamusir that create land where there is only ocean. They understand the ocean wilh l~ cs about lhe lackor to such an extent that they have gradually reclaimed space to make opponunmes and tne stowaways of euena.,enlUia. Photoylaph by it their home. Although Law 70 of 1993 in the Colombian Constitution liliana Angulo. envisaged juridical mechanisms for Afro populations to administer their territories, authors Arocha9 and Roque Roldán10 have shown that the state failed to recognize the ancestral authority that previously had been extended to indigenous peoples. lt gave Afros the Community Councils, but not the budgetary or legal authority to recognize decision-making traditions or the remaking of territories. In giving them an artifact of recognition, the state also limited the execution of that recognition. The same is happening today in Buenaventura, where this home, reclaimed from the sea, is being expropriated for the urban organization of the port. This affirms the dlchotomy that regaining something fromnature will be lost to the state's econo mie control of the territory. That's why 1think it's of consequence that you have decided to research stowaways as part of your art project and their articulation of Afro self-determination in Colombia. In the framework of a modernity characterized by ecological and human exploitation that accelerates connection, they allow themselves to be taken wherever the productive-connecting mechanism, i.e. the cargo and container ship, takes them. Astowaway is not a passenger. Stowaways do not meet the conditions for transnational citizenship because the very subjugation that puts them in movement has not allowed them to acquire those conditions. Stowaways are bodies in constan! movement who have 3Z trained themselves to subsist in the precarious, abhorrent conditions of a cargo ship by protecting the hope of survival. Stowaways struggle to decide their destination, without being able to know where they will arrive. Their alienation prevents them from doing so. Stowaways improvise within the circumstances permitted by the cargo ship, its course, and the enforcement of immigration security. They take advantage of chance, making its destiny their own. Wearily and with effort, their mutable bodies become multilingual, adapt rapidly to employment conditions, and manage to realize opportunities. They do this as they recognize the mechanisms of subjugation and control operating in the territory to be inhabited. The stowaway is thus not. a citizen in the full sense of the term. And this is why it is worth asking ourselves about stowaways, so as to question the various fo rms of movement and the attainmem of opportunities. Stowaways are not just Afro, although the communities of Africans in the diaspora or in their ancestral territories constitute one of the principal bodies in movement. Given global policies, there is an inherent performativity found within the experience of the stowaways and Afro survival. Stowaways and migrants connected the communities of the Colombian Pacifíc to the United States. According to what you have told me, the teachings of the Black Panther Party [BPP] in Oakland, California inspired much of the political fou ndations underlying the Proceso de Comunidades Negras or PCN [Black These connections Communities Process] in Colombia. The migrants between knowledge, fo und solidarity in the United States; they learned the language of the BPP and this experience also solidarity, fluid gave shape to their political convictions. Although in understanding of Buenaventura the por! has not been Afro-controlled, and the dosure of the workers' rights unions in the territory, and survival 1970s did not allow for the free development of Black are what have forged communities, the ideologies set forth in the BPP's ongoing struggles. 10-point platform, encapsulated in slogans and fo rms of knowledge, gradually took shape as a possibility for their struggle. As well as for resistance. Their slogans are all about the defense and the opportunity of self-determination. These connections between knowledge, solidarity, fluid understanding of territory, and survival are what have forged ongoingstruggles. These can be seen in the signage. Do you remember July 2016 when you showed me videos of protests in whichAfro leaders besieged the port with their modest boats and prevented the international transit ot commercial goods on cargo ships? That day, at sea and on the boats, the leaders flew the yellow, green, red and black flags whose triangular matrix produces the connection of all Black struggles. Afro resistance is based in movement: decelerating neoliberal economic mobilization techniques. Even so, as the academics remind us,11 the notion of the Black Nation is far from being a concrete reality. The difierences in survivance 33 have been large. And the dynamics of the armed conflict in Colombia have exacerbated the violence and aggression endured bythe Black population throughout history. lf the PCN constitutes one of various forms of organizing, it is dueto theinsistence of Afrocommunities to bring about the full right to citizenship. Uniting a people. the disciplines of the arts, social work, or social sciences. Through the use of words, as well as practices and images, performativities reveal themselves as part of multiple scenarios of meaning and política! opportunity and enable various art fields to operate in a different way and reach other statutes, types of knowledge, and actlons. Unfortunately, what else can it unite if the systematic exdusion of people of color reliably opera tes within the development of power, pubtic policy, and economics? In the United States, the weakeningof protections and elimination of affirmative actíonpolicies toredress the anger felt by the Black community for over a century is facing its end, obscured by the false proclamation (bysorne] ol the achievement of equality (a post-race society). With the conservative party regainingcontrol anda dangerous white supremacist sentiment receiving renewed attention in the medía, people of color in the Uníted States continually experience the same stigmas afflicting Afro communítles in Colombia. Therefore concern brings sorne opportunity with it. And that's your practice. lt's the work set befo re yo u and Afro communities to· accomplish. Your job is to recognize an archiva! series of past achievements that can be stated today. To quote them, repeat them, articulate them in ways that are possible between a Black knowledge-body and a knowledge of the circumstances. Between the United States and Colombia. Taking advantage, albeit modestly, of the opportunity afforded by the artwork on display: to find ourselves befo re the discussion and bring it up to date. That's why your work in the exhibition represents a set of documentary mechanisms and ways of representing the política! action of Afro communities that require methods of collective discussion. This is accomplished through workshops in which you grasp and integrate into the artwork the forms of knowledge-making that are unveiled as the quandaries of the Atrican-American and Afro-Colombian community. Pacific rime therefore means "giving yourself the time to consider the Pacific." Although it's an installation, [t's also an opportunity for learning. lt ls an artifact in which we get to know and document the various linguistic, poetic, política!, and economic tensions that make the Black Nation an amorphous but surviving entity. Your body already knows all this. But what do we do with art? 1am con cerned nowthat you're trying to connect the forms of struggle in California with those of Buenaventura through art research. What is the performance that art research can, and must, achieve in the lace of this bleak panorama of systematic aggression In two such different ways of life united by the same Black condition? Staying unsettled l'd like to interpret your initiative in terms of a cultural performance. Within performance studies andtheory, performance is delined as acts of iteration and quotation that certain agents, including you, construct in arder to organize their own conditions of possibility and execution. The posslbility of performance to make somethíng realizable is achieved through the repetítíon of a series of cultural behavíors, which in turn creates the conditions necessary lo generate new and unexpected situations. By uttering and repeating what it manifests, it continually transforms its iterations. Aperformative elocution only can be successlul if it repeats a codífied or iterative elocution: it works precisely because it quotes cultural behaviors that already exist. In doing so, difference comes into operation and disturbs the conventional fo rms that have become normativeY As a result, within the lramework of the quote, it manages to incorporate the difference into the enunciation and thereby consolidate certain conditions to make that difference possible. Addítionally, the acknowledgement of these cultural perfo rmances also serves to bríng ínto existence other behaviors.ll Thus they configure specific ways ol doing as part of a set of interconnected practices that produce particular acts.14 The use of quotes and iterations of cultural behaviors are varied and do not respond exclusive! y to 34 This cultural activation within the framework of contemporary art only can be articulated as a way to jo in the endeavor of lile. lt can only be articulated properly in the moment when it engenders the political density of life's endeavors. This is why it will not be an anecdote ora distant vestige. lt will be an allocation of lite andan articulation of transnational potentials and solidarities. This is perhaps its so le and reasonable performance. The discrete organization of the images that operate as an affective archive of life's achievements that contaminate, learn fromnew territories, and, like communicating vessels, connect projects that imagine the future and challenge the precarious, chronic condition ol Black citizens. Our approach to our work, dear Llliana, cannot be other than that of the stowaway: the material surface of the artwork is an ínter-temporal platform that connects worlds and travels, hiding its disruptive potential. The artwork travels so as to learn from the potentials of Black worlds in order to reactivate such information in Buenaventura's Afro solidarity. Our true artistic work is to be able to produce a convergence: what the stowaway achieves with so much effort and pain, heartbreak, and undertaking is to make a lile in this strange world through persistence. In the end, juste are. 35 Caring is a practice of llfe and sustainability. lt's a performance. We cannot confront that which Pacific Time implies for us if we act from the moral perspective of "good will." This is beca use when error and mísunderstanding arise we cannot hide behind our good artistic intentions. Rather, we must be responsible fo r the problems that our work produces. This is howto be critica!. Caring, as a critica! practice, is a set of explicit actions in which agents take into account conditions of inequality, as well as forms of knowledge and sensations, intuitions and vulnerabillties, to react following reflective criteria by taking eare of other people, the ecological world, objects, ideas, and processes as well. Pocific Time can show us how to take better ca re of ourselves. Therefore caring takes the form of a series of exercises. Sorne look after others, but they, in turn, are looked after. Those receiving careare going to take care of others. Act by oct, life-giving energies and efforts are grodually transmitted in different time flows and interconnected circumsronces. Our artistic labor can act as this platform for action. Extra-discíplinary work initiatives that not only seekto attend to and represen! a situation, but also seek to transform or sustain an active enthusiasm for lite, can be considered cañng arts. They're a set of orientations and ways of doing that entrust and take on responsibilities for life situations. Their artistic dimension implies paying attention to aesthetic experimentation and to sensibilities. In fact, they address the corporeal and emotional dimensions contained in male and female creators and, in this case, Afro agents. Editot's note: This is a uanslaúon of an ongmal textwrinen in Spanísh. Author's note: This text was wriuen ín advance of the Pocific Time artistic pto).ect ~y li li ~na Angulo. monlhs befare it hada final structure. 1t was still in developmem and lhe aims undetmquuy .. Thts text should be read os a provocation to stimulate our conversatio ns about what it means to cauy out s?ml ptactlce and res~ach of this nature. For the purpose of thís essay, l do not use the terms Afro and Block tnterchangeably. Afro ~ ~ used rndtcate the communlties of African descentliving on the P~cif Coast of Colombia (which are the sub¡ect of 10 this teuerJ; while Btack shoutd be understood as refening to the larger global African diaspora: ~o no~ Wlsh to marginaUze the debates regarding ethmc or racial identity or those over nomenclature and dehnlllons: rt does not serve the may to enter lnto the larger díscussion. Elizabeth A. Povinelll, Economies o/ Abondonment: Social Belonging and Enduronce in Lote Liberalism (Ourham, NC: Ouke Universily Press, 2011], 160. z Original quote: "Para realizar la unión debemos insistir en todo lo que nos une yprescindir de todo Lo que nos separa." 3 Centro Nacional de Memoria Histórica, Buenaventura: Puerto sin Comunidad [Bogotá: CNMH, 2015]. 483. Jaime Arocha, "A modo de epilogo: un puente maesuo sobre las organizaciones rurales afrocolombíanas,- in Movimiento social ofrocowmbrono, negro, roizol y palenquero: fl largo camino hacia lo construcción de espacios comunes y alianzas esuarégicos paro lo incidencia pol/tico en Colombia, ed. Maguematl Wabgou, et al.(Bogotá: Instituto Unidad de Investigaciones "Gerardo l.lollna" - UNIIUS, 2012). 293. Nina S. de ftiedemann , Lo soga del negro en Colombia. Presencro africano del negro en Colombro [Bogotá: Instituto de Genética Humana. Pontificia Universidad laveriana, 1993]. 111. Liliana, let's keep talking. We still have a world to build. And Tolking to Action is only just begínning . .. Nlna S. de Friedemann, "Estudios de negros en la anuopología colombiana: presencia e invisibilidad," in Un Siglo de Investigación Social: Anrropo/agío en Colombia, ed. Jaime Arocha and Nina. S. de friedemann (Bogotá: Etno, 1984), 507-512. Kisses, Jaime Arocha. "A modo de epilogo," 295. Original text: "La primera es un instrumento de poder inventado alrededor de la supuesta superiondad racial blanca. consistente ocultar las historias universales. nacionales y regionales protagoniradas por la gente negra en Afñca yen las Américas. . • . Lo refuerza la negación de los hechos, lenómenos y sucesos que esos pueblos y ctvillzaciones protagonizaron y siguen protagonizando. y lo complementa la estereotipia, variación de la . invisibilidad que se caracteriza potla teducción de complejidades y lfrversidades estéticas, socrales, mentales y simbólicas a rasgos simples, invariables por su supuesto carácter atávico. • :n o Dr. David Gutiérrez Castañeda Universidad Nacional Autónoma de México Exercises of Care htto://redcsur.net http://www.archivosenuso.org Red de Conceptualismos del Sur 8 Gilugio Agamben, "form·oHife." in Means without End: Notes on Politics, uans. Vtncenzo Bineui and Cesare Casarino (l.linneapolis: Unive~ty ot Minnesota Press, 2000), 3·12. Atocha, "A modo de epilogo," 296. 10 Roque Roldán, ·'Conlerencía gtabada sobre la historia del movtmtento tndigena en Colombia. Bogotá: Intercambio de experiencias Sur-Sur entre Colombia y Honduras" [October 13, 2011]. 11 Fnedemann, Lo soga del negro en Colombia. 12 Judith Butler, Bodies Tllot Motter: Gn tlle Oiscursive L/mits of "Sex" [New York: Routledge, 1993), 288. 37 38 13 Sara Ahmed, The Culrural Politics ol Emotion (Edlnburgh: EdinburghUniversity Press, 2004], 256. 14 Michel de Cerleau. The Practice ol Everyday Ufe (Berkeley: Universily of Califomia Press, 1984]. 256. ..:: "' a: LIVING, CREATING, TRANSFORMING: AFew Ideas on Autonomy as a Way of Lite in Mapuche Territory Paulina E. Varas Somos hijos de los hijos de los hijos somos los nietos de La utaro tomando la micro' -David Aniñir In September of 2015, the Chilean photographer Felipe Ourán was arrestedz in a sector of the Araucanía region, accused of possession of weapons, munitions, and material for making explosives. Ourán had moved to a city in southern Chile to work as a correspondent for international media in order to document the Mapuche3 people's struggle to regain their ancestral lands and against the repressive apparatus set up by transnational companies and latifundistas, otten with the Chilean state's tools of repression as reinforcement. "Since 1staned working at Wallmapu4 1have said my camera is at the service of the peñi, 5 not jusi during forceful emries, but also when lands are recuperated. lt's a fundamental right that we should all be proud of defending. "6 After spending 11months in jail as a polltical prisoner, he was released due to a lack of sufficient evidence proving that what he possessed were firearms. One of the chants often repeated by protestors defending his fnnocence, both in public and on social media, was that Felipe Ourán did indeed possess a very powerful weapon: his camera. With that statement, the masses sought to highlight two importan! matters: the first being that the power of images in contexts of institutional vio lene e acts as proof of that violence and destruction. The second matter concerns images that document the plight 38 39 Talking to Action: Art, Pedagogy, and Activism in the Americas is the first publication to bring together scholarship, critica! essays, and documentation of collaborative community-based art making by researchers and artists from across the American hemisphere. This volume is a compendium of texts, analysis, and research documents from the Talking to Action research and exhibition platforms as part of Pacific Standard Time: LA/LA, an initiative of the Getty. - -